Tomorrows World – Louis Vuitton Advertising & The Japanese Consumer

The Louis Vuitton Spring/Summer 2016 campaign features an unorthodox model: Her name is Lightning - the heroic figure in 'Final Fantasy', a cult fantasy game created by Hironobu Sakaguchi. See the campaign video below:

Creative designer Nicholas Ghesquiere said:

“If we push the reflection about heroines, or what might constitute the nature of a woman whose actions can be so courageous that she becomes superior and iconic, it becomes obvious that a virtual entity integrates with the founding principles of the Maison. Lightning is the perfect avatar for a global, heroic woman and for a world where social networks and communications are now seamlessly woven into our life. She is also the symbol of new pictorial processes. How can you create an image that goes beyond the classic principles of photography and design? Lightning heralds a new era of expression.” 

The concept is truly groundbreaking – pushing the boundaries of conceptual advertising to the point of futurism. I am currently undergoing research for my Consumer Culture module, in which I will need to create a formal marketing report aimed towards the Japanese consumer. The unorthodox model within the campaign, a fictional game character, interprets the essence of a heroine. I feel that this could be a strategy of attracting the Japanese market – by appealing to the system of Confucianism, or the "ethical-sociopolitical teachings". This campaign has inspired me to research ‘heroic’ figures to use as a celebrity endorsement within my marketing strategy.

REFERENCES

Nicholas Ghesquiere Quote retrieved from:

 http://eu.louisvuitton.com/eng-e1/articles/series%C2%A04%C2%A0lightning-a%C2%A0virtual%C2%A0heroine

Hepworth Sculpture Prototypes & Modern Architecture

‘The Gift from the Hepworth Estate’ is a body of over 40 sculptures, installed within the Hepworth Gallery space. The ‘core’ of the collection is a unique group of surviving prototypes – working models - which allow the viewer to see Barbra Hepworth’s unique carving techniques. Most were made from plaster, some in aluminium and bronze and others in wood. These were the works in which the ‘casings’ (the outer shell of sculptures) were cast. Within our group-based ‘Lookbook’ and ‘Brand’ projects, we have chosen an ‘Urban’ theme to be part of the influence for our brands promotional imagery. We are considering using film footage of architecture within our promotional video.

While viewing the exhibition, my attention was focused on the unusual composition of the pieces. They were curved and fluid in their shape, however the inner-structures were composed of a criss-cross aluminium bars which ‘cut through’ the fluidity of the shapes. Forming somewhat of a Juxtaposition (the name of our brand itself).

(Above photos: names unknown, personal photography, taken 12/02/2016)

This idea led me to think of the Bullring shopping centre in Birmingham – fluid and sculptural in its shape, however covered in a skin of strikingly modern aluminium discs:

(Above video: Bullring, Birmingham, personal recording, 5/02/16)

“Designed by Future Systems, architects of the Space Age-style press pavilion at Lord's cricket ground in St John's Wood, it has about it, from the outside at least, not just something of a Pop era frock, but something of the sea and even the ocean depths - something, too, of outer space exploration” – Johnathon Glancey for The Guardian.

Buildings of these types often contrast to their dated surroundings, due to their large investments. The ‘Hepworth Estate; exhibition inspired me to research into abstract modern architecture – with designs that surround the idea of ‘Juxtaposition’ to represent our brand.

REFERENCES:

Johnation Glancey for The Guardian: http://www.theguardian.com/artanddesign/2003/sep/01/architecture.shopping

More on the exhibition at: http://www.hepworthwakefield.org/whatson/the-hepworth-family-gift/

Manish Arora & Cultural Heritage in a Global World

To begin my Intercultural Fashion assignment, I have been delving into research studies relating to cross-cultural fashion and their prominence in an ever globalizing world. Particularly insightful studies relating to this subject are those by writer Ted Polhemus. ‘Exploring Cultural Heritage in a Global World’ (Brand, 2006) brings to life the idea that both regional and national brands are ‘ethnographic sketches’ or projections of alternative, hypothetical ways of life. 

Indian designer Manish Arora believes that fashion should be rooted in local culture yet fulfill international taste criteria. He achieves this by using bright colours reminiscent of Sari’s, India's national costume. He also combines parodies of Indian popular culture with clothing- however the silhouette and form of the designs adheres to international fashion trends, such as basic, western T-shirt. The result is a mix of Indian details and youthful clothes in accordance with the latest international trends in fashion. 

Above: Manish Arora, Autumn/Winter 2015-16 (Stylep, 2015)

Manish Arora demonstrates that his roots are a vital part of distinguishing his brands image – and the separation him brand and an international fashion market. His designs simultaneously create an appeal for the cultural designs, yet also create somewhat of a ‘mythical expectation’ which separates India from other cultures – a Utopian vision. 

It is this concept of geographic brands within a global market which has enabled me to grasp an understanding of why Japanese consumers desire typically English fashion products.

REFERENCES

Brand, J., Teunissen, J., & Centraal Museum. (2006).Global fashion, local tradition: On the globalisation of fashion (2nd ed.). Woodbridge;Warnsveld;: Terra - Lannoo. 

Stylep, 2015. Manish Arora, Autumn/Winter 2015-16 [Image]. Retrieved from http://www.stylep.com/paris-fashion-week-manish-arora/.